It is time now to return to the bizarre, frequently hilarious and occasionally disturbing fictional universe of China, Illinois, where Brad Neely‘s “The Professor Brothers” hold sway as the arbiters of knowledge and coolness. Steve and Frank Smith are brothers who both teach at a local community college whose mascot is a panda bear. Steve is the more laid back and presumably younger of the two, and his bald, sunglass-adorned appearance is vaguely reminiscent of Elton John. Frank, also mostly bald but bearded, is a connoisseur of drunken blackout experiences, as documented in the very funny two-part episode, “FliffNight.”

Together, the Professor Brothers reign supreme in their shared office at the college, surrounded by books with titles like “Owl Sex” and “Man Cave.” They sometimes join forces for songs like the wonderfully catchy “Prisoner Christmas,” or to essentially prank some poor, unsuspecting student, as in “The T.A. Interview,” but more often than not, it is Prof. Steve who pranks Prof. Frank. In “The Substitute,” for example, Prof. Frank hands his history class over to Prof. Steve (it is never made clear what Prof. Steve actually teaches), who proceeds to make up an extremely strange and offensive lecture that he then blames on Prof. Steve’s notes, which he ignores in favor of a comic book. In “The Late Date,” Prof. Steve actually joins forces with the college’s dean for the ultimate prank on Prof. Frank, whose day has already been going very poorly.

Unlike Prof. Steve, Prof. Frank does sometimes get around to teaching some history, though it is primarily of the irreverent biblical kind, like his lecture on Sodom (“named after sodomy”) and Gomorrah (“which was named after an even weirder move”) in “Bible History #1.” He also recounts the life of “Jesus F**king Christ,” of whom he says, “I know that Jesus is pretty played, but just like feces, he was very real, and some point you have to talk about it.” According to Prof. Frank, Jesus was betrayed by a conspiracy of his disciples in order to sell more copies of his teachings; they then blamed it all on Judas, “who was planning on killing himself anyway.”

The foul-mouthed, slang-inventing Professor Brothers are perhaps not as fascinating as his earlier creation, “Baby Cakes,” but their songs and misadventures make a very funny addition to the China, Illinois, universe. Baby Cakes can be seen in the audience of some of Prof. Frank’s lectures, and he even gets some insightful dialogue in “Future Thoughts”: “When the aliens come, they will be so great in so many different ways, that everything we ever thought was cool will then make us ashamed.” Get ready for a “so much cooler” future, everybody, because according to the Professor Brothers, the government has been lying to us all along.

Few things are more ripe for satire than reality television, especially of the competitive variety seen on shows like “Survivor” and “The Bachelor,” and The Onion has boiled the format down to its essence with the web series “Sex House.” Combining the strangers living together format of MTV’s “The Real World,” on which all subsequent reality TV shows can be blamed, with the competitive dating games of so many other trash TV staples, “Sex House” skewers the artificiality and coercion involved in creating so-called “reality” programming.

The series focuses on six strangers brought together in the seemingly posh house for the sole purpose of having sex with one another. Each of them is a conveniently pegged type: Jay (Boyd Harris) is described as a “bro,” a “trim-seeker” and a “sex lover,” and his personality would not be out of place on “Jersey Shore”; Jay’s obvious female counterpart, Tara (Ashley Lobo), is a “sorority princess,” “proud skank” and “maneater”; Erin (Fiona Robert), an 18-year-old virgin, is “naive,” “clueless” “jailbait,” while Alex (Lea Pascal) is an “alt-punk” “polysexual princess”; Derek (Chris Boykin) is the show’s only gay guy, so he is described as a “sexually promiscuous” “flamboyant fireball,” but the show’s real wild card is Frank (Jesse Dabson), a 45-year-old “big daddy” who won a Tombstone pizza contest to get on the show.

The first few episodes progress as might be expected, with the desperate Alex trying to have sex with anyone and everyone, while Jay admits that “Tara’s pretty slutty, I get it,” though he is more interested in deflowering Erin, who is “totally smokin’. I’m like, ‘I’m tryin’ to have sex with that!’” The gang plays a disastrous game of “Sexy Truth or Sexy Dare” and receives pole dancing instructions in the third episode, “Get on That Pole!” Meanwhile, the males are given some “bro lessons” by Danny Vullmer (Chris Meister), a hacky comedian who makes dated references to Urkel, En Vogue and Roseanne Barr. Things get more and more disturbing after that, as “Erin Bares It All” in the fourth episode with a shocking announcement that changes everything, and the show’s participants begin to revolt against its creators, including the “asexual” and very creepy host (Chris Agos).

In its most recent episodes, “Sex House” has gradually become more like a horror film, which only makes it funnier, beginning with the disgusting “Banana Sex Olympics” in episode 5 and continuing with “Dr. Sex” in episode 6. By the most recent episode, “Sex in a Bottle,” things are looking decidedly grim for the malnourished prisoners of Sex House, and the preview for episode 8 (which goes live today) makes it clear that it’s only going to get worse. New episodes go live every Thursday on The Onion’s YouTube channel.

Hosted by Zach Galifianakis at his most awkward, “Between Two Ferns” represents what television talk shows might actually be like in a much more interesting world. Filmed to look like a low-budget public access show, but with big-name celebrity guests, the series mines uncomfortable humor to the fullest. Galifianakis frequently mispronounces the names of his guests and openly insults them, creating an environment of hostility that often feels almost too real. When not blatantly mispronouncing names, he is prone to making intentionally terrible puns out of them, like when he asks Jon Hamm if his middle name is “Honey-Baked,” or if he has considered changing his name to something like “Stewart Turkey-Link.”

The discomfort starts strong right out of the gate in the first episode, in which Galifianakis basically molests Michael Cera. There is a common thread of one-sided sexual tension in many of the episodes, and certainly not just with the female guests, though it may be strongest in the episode featuring Natalie Portman. It is a testament to her skill as an “acteress” that this episode is one of the most authentic, as if she were actually just in the midst of a nightmarish interview set up by the most incompetent agent imaginable. Other episodes are more clearly staged, and perhaps the weakest is the one with Will Ferrell, if only because the two are generally too chummy with each other, at least until the end.

The series is at its best when Galifianakis is openly hostile to his guests, like the episodes featuring Ben Stiller and “Brad Lee Cooper.” Though this hostility is common throughout the series, only “Conan O. Brien” gets an explanation, which is that Galifianakis thought he had a shot at “The Tonight Show.” Another especially convincing episode features Galifianakis’ “twin brother,” Seth, interviewing a wooden-faced Sean Penn, who really seems like he might haul off and punch Galifianakis at any moment. As with Portman, it is Penn’s acting skill that pulls off the joke so well.

A pitch-perfect spoof of bad, desperate public access talk shows, “Between Two Ferns” is easily one of the best offerings from the always enjoyable Funny or Die. Even the opening and closing theme music feels authentic, though it is actually lifted from Bernard Herrmann‘s “Taxi Driver” score, which adds to Galifianakis’ creepy, angry vibe. I’m not sure how well it would work as a full-length show on television, but in the small segments available online, it is hilarious.

The WIGS channel on YouTube could unkindly be called the online equivalent of television’s Lifetime network, specializing in stories of the lives of women that are, ironically, primarily created by men. The first of these web series is “Jan,” created, written and directed by Jon Avnet, who is probably best known for producing hit ’80s and ’90s films like “Risky Business” and “Fried Green Tomatoes,” the latter of which he also directed. Like the superior “Blue,” “Jan” is simply named after its lead character, Jan (Caitlin Gerard), an aspiring photographer who has just gotten what might be her big break, so long as her life doesn’t get in the way.

Jan works as an assistant to Mel (Virginia Madsen), an established photographer whose latest project is a book called “Afterglow,” which is a collection of shots of women immediately after the completion of sexual encounters. The first session features British movie star couple Gery (Stephen Moyer, best known as Bill Compton on HBO’s “True Blood”) and Andie (Jaime Murray, best known as Lila Tournay on the second season of Showtime’s “Dexter”). Gery seems to immediately like Jan and, when Mel is preoccupied with a phone call at the crucial moment, he convinces her to take the shots instead, which leads to Jan being fired. Luckily for her, deadline pressures from the magazine Mel works for causes her to rehire Jan, though Mel takes the credit for the photographs and warns Jan that she is on thin ice.

Jan also has a junkie boyfriend, Robbie (Kyle Gallner), who is constantly pestering her and her roommate, Vanessa (Laura Spencer), and complicating their lives. This subplot should make the series more interesting, but what it mainly does instead is make everything feel less focused. The tone of the entire series is very uneven, and quirks like Jan’s initial clumsiness and her habit of getting the hiccups when she’s nervous come and go without ever really going anywhere interesting. Likewise, the late addition of a new boyfriend for Jan feels inconsequential and tacked on, despite the conflict it would seem likely to create with Robbie, the ex, and Gery, who flirts openly with Jan and drops by her place to take showers (another contrived quirk that feels less than genuine). All in all, the stakes are never really high enough, nor is Jan a compelling enough character to make this series particularly worthwhile. Check out “Blue” instead, if you want to see what the WIGS channel is like.

The series starts strong with its first episode, “The Focus Group,” in which Jack’s boring speech delivery style is hurting his poll numbers as well as his team of handlers watching the speech from campaign headquarters. However, when Jack experiences a slip of the tongue pronouncing a certain state name, his polls soar, and the handlers land on a brilliant strategy for the campaign. Ending with a jaunty theme song briefly introduced at the beginning, this episode nicely sets the tone for what’s to come, and the series continues strongly with a similar idea in its second episode, “Prostitute.” An innocent mistake in which Jack tries to help a woman in need, only to be railroaded by the media when she turns out to be a hooker. Perhaps the best moment of the episode comes when Jack asks his handlers, “Is a good person helping out a stranger so hard to believe?” and the answers comes back as a resounding “Yes!”

After the third episode, “Poster,” which features a really well-done sight gag at the end, the series takes a slight dip in quality. The fourth episode, “Mustache,” is well-played but basically just builds to a very predictable joke, and the same could be said of the fifth episode, “The Announcement,” which is even weaker. This is sort of the problem with the web series format, at least for this series; the characters and situation are strong enough to build an actual, full-length sitcom from, but the two-to-four minute episode format of the web series only leaves room for essentially one joke per episode. Some of the jokes work better than others, but Cranston and company always give it their best, and “The Handlers” is worth a look, especially in its first three episodes.